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Re: King crimson stuff
At 12:57 PM 1/7/2004, Paul Greenstein wrote:
>I remember reading various guitar geek interviews with Adrian Belew
>around
>the time those albums were released. I think a big part of his technique
>was to use fairly extreme equalisation to encourage particular harmonics
>to feed back, plus *really* getting to grips with positioning himself
>relative to his amp(s).
One more wrinkle which may not be easily duplicated: For years, Belew
relied on the same beaten up vintage 60's strat, which had a tendency to
feed back in really interesting ways (also probably didn't hurt that
Adrian
idolized Hendrix while growing up).
Evidently, it was this particular style of feedback that landed him his
first professional gig with Zappa. (Aside: according to some of Belew's
interviews, he actually had blown the audition entirely, where he was
asked
to try out with Zappa and the rest of the band. Before leaving, Adrian
pulled Frank into a room with just the two of them and cascaded him with
ten minutes of ear-shattering guitar solo feedback. After that, he got
the
job.)
I don't believe Adrian really used any other guitar until he picked up a
second vintage strat around the time of his first solo album, "Twang Bar
King" (released between "Beat" and "Three of a Perfect Pair", if I
remember
correctly).
Also, I've heard rumors that later on there may have been a
Sustainiac-like
system or a compression circuit installed into that guitar body's
electronics.
So, some of those high feedback notes may not be readily reproducible
because they're a function of that particular piece of wood under Belew's
fingers. Not impossible to recreate, mind you, just a bit more difficult.
>By the way, have a listen to 'The Great Curve' from Talking Heads 'Remain
>in Light' album. Great feedback solo from Belew.
Good one. Similarly, I'd also recommend 'Two Soldiers' from David Byrne's
soundtrack for the broadway performance of "The Catherine Wheel". I'm
especially fond of the way that, during the solo break, Belew obviously
took several different feedback takes. Then, in true Byrne/Eno fashion,
they were edited into quick machine-gun-like clips to form a single guitar
solo that is truly twisted and genuinely neat. I believe it has to be one
of the first true examples of granular/glitch guitar, and probably done
entirely with 1/4" tape. ;)
-c-
_____
"i want to reach my hand into the dark and *feel* what reaches back"
-recoil